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Vom Krematorium zum Kulturquartier

2015 als Stiftung eingetragene Institut hat seine Adresse – und sein ‹Büro› – im ebenfalls neu gegründeten Kulturquartier silent green im Berliner Stadtteil Wedding. Zu den ersten Amtshandlungen dieser «Einrichtung» gehörte eine kommentierte und ins Englische übersetzte Veröffentlichung von Farockis Rundschreiben.1 Daniel Eschkötter und Brigitte Weingart haben sich mit den Vor- standsmitgliedern des HaFI, Tom Holert, Doreen Mende und Volker Pantenburg, über die Entstehung, Struktur und Arbeit des Instituts unterhalten. — Brigitte Weingart / Daniel Eschkötter In

wholly silent. (“Green lake, clear spring water,” Venerable Han Shan; emphasis mine) The juxtaposition of the lake, the mountain, and the moon evokes a space stretching between them. Water naturally flows down, while the mountain ex- tends upwards, and although the mountain top is far away, the moon is more distant still. (7) Mountain after mountain ascending; To Buddha’s temple near solitary village. As I journey, scenery and poetry merge. Along the hillside, leaves tremble, A monkey comes down to the water. A monk, his staff tinkling, ascends the steep

people derogatorily called the “biggest ghetto in Western Europe.” By the barrier set up around the scene of the accident, a growing num- ber of letters, poems, photographs, flowers, wreaths and cuddly toys soon provided evidence of mourning and consternation about the incomprehensible catastrophe. In particular “the tree that saw it all,” a large poplar near the crash site, spontaneously became a meeting- place and memorial for the survivors. This silent green witness turned into the touching centre of a “growing monument” conceived by the Geneva architect Georges

sync up with private cobenefi ts, it might be more effective to emphasize the private benefi ts while remaining silent about the environment. The Silent Green Bundle In some situations, greening products does not offer clear pri- vate cobenefi ts. And, as we know, emphasizing environmental benefi ts alone leads only a small number of committed con- sumers to buy green. It is still possible to use a silent green bundle strategy, however. For example, a company can bun- dle green products with conventional ones to increase their appeal. This was achieved by the

environmental performance. Firms that positively communicate about performance, through marketing and public-relations campaigns, for example, can be described as “vocal” fi rms. Those that do not communicate about their en- vironmental performance can be described as “silent” fi rms. Thus, fi rms with good environmental performance that posi- tively communicate about it can be described as “vocal green fi rms,” while those that do not communicate about their en- vironmental performance can be described as “silent green fi rms.” Among brown fi rms, we describe those not

Öffnung der Räume galt, sondern eingeladen wurden Künstler*innengruppen, in denen mit basisdemokratischen Formaten experimentiert wurde.17 Gerade der Funktionsbegriff nimmt in diesem Zusammenhang eine we- sentliche Stelle ein, denn dasNachdenken über die Funktion beziehungsweise Funktionen der Künste im Sozialismus war in der DDR eine Reflexion ihrer 14 Vgl. auch dazu die Tagung Berliner Zusammenhänge am4.11.2018 im Silent Green Berlin. 15 Vgl. die Beiträge von Annette Maechtel und Ildikó Szántó in dieser Publikation. 16 Vgl. dazu auch Rehberg, Karl

into the 1960s on the West Coast. The Vancouver-based artist Takao Tanabe was one of the figures who spearheaded this collaborative arts culture after 1960. He helped design and publish early collections by Gerry Gilbert (White Lunch), Roy Kiyooka (Kyoto Airs; Kiyooka also did artwork for Newlove’s Grave Sirs), Florence McNeil (A Silent Green Sky), Newlove (Grave Sirs and Elephants, Mothers & Others), and Phyllis Webb (Naked Poems). The extent of this 1960s visual culture tempts one to think that Dennis Lee’s assertion that the image was “the fundamental

them as part of a larger approach of the director towards the festival. Pre-Opening The 2017 pre-opening concert featured a work by Catherine Christer Hennix, Kalam-i-Nur: The First Light, The First Sound. The concert took place in the mourning hall [Trauerhalle] at Silent Green, a crematory-turned-arts-space. Bathed in an ethereal green light upon entering the complex, the audience was asked to make themselves comfortable on rugs placed over the marble floor.The Arabic letter Nun was projected on a wall, the first letter of the Arabic word for light (Odo Polzer and

; producers and consumers of idea, 296. See also Bourdieu/Wacquant Wagley, Charles, 41, 177, 271, 278 Walker, Alice, 94 Walker, David, 16, 209 Walker’s Appeal (Walker), 16, 209 Wallerstein, Immanuel, 74, 76, 263, 331n35 Walsh, Michael, 232 War on Terror, 103 Ware, Vron, 121 Washington, George, 27 Washington Consensus, 113 We Are All Moors (Majid), 170–171 We Are Not Racists (Kamel), 223–228 We Cannot Remain Silent (Green), 81 Weaver, Jace, 301n1 Weber, Henri, 159 Weber, Max, 52, 67 wedge-issues tactics, 16, 99, 150 Weil, Simone, 68–69, 165 Weill-Raynal, Guillaume, 169